D'Arcy Carden Quotes

I like working with writer-directors because you can solve problems right there.

I just love working with actors, and I love working with writers, working with designers. I feel that I am just a storyteller, and whether I am wearing the director hat or the playwright hat, it doesn't matter. And the rooms I tend to be in are pretty democratic, and the best idea wins.

One of my favorite things about 'Castle' is the fact our writers and producers are so collaborative. They allow us to bring in ideas, and they try to make them happen for us.

I like to come to the set with very strong ideas and strong opinions about how to do things. And I like also dealing with somebody who's like that.

I'm not one of those playwrights who says, 'Show up, hit your marks, and don't talk to me!' I always want to hear from the other artists involved, whether it's the director, the lighting tech, or the actors.

And 'Sex & Drugs & Rock & Roll' was a very transitional film for me in that I was one of the producers and you know, came up with the idea with the writer and the producer, as well. But, it was a very collaborative event. You know, I really love working in that way.

I enjoyed so much working with the guys from Wilco, and riffing off of them, and having someone come up to me with ideas, because normally in the studio it's me who has to come up with all the ideas.

I'm proud of 'Sinister' because Scott and Cargill did a great job on the movie, and I set up a framework for them to make what they wanted to make. They gave me the idea, and I figured out how to get it out into the world.

The director is the ultimate creative arbiter of what's going to happen. And as a director myself, you really appreciate collaborating with people who are trying to help you find what you need and what you want.

And I think one way or another it's evident to those who work with me that as a writer, a director, a friend, as somebody's there that's very anxious to get the movie made.

I feel I should defer to the writers and the directors because they're the ones who have the complete vision. They see things through from the beginning to the end. I'm responsible for one small part, so my scope is much more limited than theirs.

The environment in a writer's room, I've really come to feel, should be some form of democracy.

Even when I'm not directing, that doesn't stop Owen from having ideas for what I should be doing.

But I'm blessed to work with great people. I collaborate with brilliant stylists both here and in Paris. I work with a great design team. I really allow everyone to bring their ideas. I almost rely on them to inspire me.

There are times when the writers ask us to improvise. Sometimes the animators are inspired by what you do, and sometimes you are inspired by what the animators do.

I really want to have actors contribute their own ideas, with phrasings and ideas on all levels.

The great thing about movies is that they're collaborative. And the worst thing is that they're collaborative.

It's not very often that you get to come up with ideas and bring your take on the character and then actually have writers, producers, and directors pay attention to it.

I see my actors as my collaborators.

On 'Vikings,' nobody's got an ego. Michael Hirst is just so open and so collaborative.

One of the great things I learned from how cooperative theater is, you can't be too precious about your ideas.

Actors and directors work on things together. That's how I like to work, anyway. I don't want to be told what to do. I want to share it with someone and work it out together.

I like hearing from everybody and not just my co-screenwriters or producers. For example, while on set, I find it valuable to turn to my PA and ask, 'What do you think? Is this scene working? Do you like what you see? You got any ideas for that line there because that idea isn't working for me.'

In animation, there's not a medium I believe that's more collaborative. It is a team of people, of different disciplines, coming together. The decisions are made by consensus in many cases. My job as a director is to exercise the best judgement I can in terms of which decision is the best one to make for the movie.

When I'm in the studio with a writer, I don't mind for them to take the lead and show me something new.